When birth and death seem far away or when we feel separated from them like anything that separation creates suffering. Birth and death are not actually separate from us but we imagine that they are and that imagination disturbs our life. So the practices are to become intimate In intimacy with birth and death there is peace and joy in life.

[01:03]

So a basic practice of Zen or basic bodhisattva practice in the midst of what we call birth and death I've been mentioned to you that there's one simple version of it is three practices, three ethical practices. And the first one is usually put as the precept of restraint or discipline. And so one way to talk about this morning is it's the discipline of understanding that the Buddha way cannot be other than our daily life.

[02:16]

or to say it slightly differently, cannot be other than the performance of our daily actions. So when I said it cannot be other than, in other words, there's a discipline or a restraint of the thought that the Buddha way is something other than what we're doing right now. However, and most living beings imagine that whatever they're aware of is actually other, is separate. That there's them and their actions, that there's them and their friends, that there's them and their practice, that there's them and the Buddhas, that there's them and birth and death.

[03:29]

So the first of these three practices is the practice of making what we're doing the Buddha way or the performance of the Buddha way. I'm raising my hand now and speaking so I can practice the discipline of making this hand gesture and making this speech the performance of the Buddha way. Not exactly my performance of it because that brings in like me and the performance but this is the performance of the Buddha way. My activity, my life is the performance of the Buddha way. My life is the performance in birth and death of no birth and death. The Buddha way is the performance in birth and death of nirvana.

[04:39]

It's the performance of peace in the realm of suffering and distress. It's the performance of... rest in the performance of distress or unrest. this first pure precept of bodhisattvas or first pure precept of Zen often uses particular forms to facilitate the practice and realization the practice of the buddha way and the realization of the buddha way, it uses forms

[05:42]

like for example it uses sitting like we've been doing here this morning sitting upright and sitting still and quiet it's a form and so the training is to use that form of sitting and to perform it not to become enlightened or not to bring peace although that's not so bad, but the emphasis is more on performance of it as peace, as enlightenment, as Buddha. In other words, and also, you see, you're not doing it to seek Buddha, you're doing it to realize Buddha. So you're training that training in that intimacy or training to eliminate that separation between what you're doing and everything.

[06:48]

Because the Buddha way is not separate from anything. Because if it's separate from something, it's not the Buddha way. Because the Buddha way is non-duality. And non-duality is not separate from duality. If the Buddha way is separate from something, it has the defect of being separate or being dual. That wouldn't be the Buddha way. And if your practice is also separate from something, then your practice is not like the Buddha way. So your practice needs to be like the Buddha way. Namely, your practice is the Buddha way. and our mind doesn't usually work that way, and this actually, how this is, how the Buddha way can be that way, how the Buddha way can be not separate from anything, is inconceivable.

[07:54]

And human beings and other living beings, you know, have to train at getting comfortable with inconceivability. we're usually into something that's conceptual or conceivable. So how can it be that this is the Buddha way is one of the ways that it can be is that you give up the thought that it's not or that it's separate. And then there's other forms you can use like walking And in a monastery you can use many forms. And all these forms are done not to get enlightened, but to realize enlightenment. And people do have experiences where their way of seeing changes and they somehow understand what I'm saying.

[09:02]

And their mind seems to be enlightened. And then that makes a big difference in their life. But according to what I'm saying, then they'd continue to do the same practice they did before they had this change of perspective. So, for example, you could be practicing and practicing to make everything you're doing the performance of the Buddha way and suddenly you understand that everything that you're doing is the performance of the Buddha way. And then afterwards, now that you understand that, you continue to make everything that you do the performance of the Buddha way. Rather than, okay, now I don't have to do that anymore. So that's the first pure precept. And in that precept you're not exactly doing anything. You're doing things you're thinking and you're speaking and you're making postures but those things are not the point.

[10:11]

The point is that you're doing those things without seeing them as separate from the buddha way. Your main effort is to give up separation and duality in what you're doing. It's not so much the things you're doing but you use these things to do that practice. That's the first pure precept. The second one is these six practices which include innumerable practices. They also fall under the heading of the first one. They are also the performance of the Buddha way. but they get into different aspects to discover any kind of lack of intimacy you have with that basic practice. And the basic practice helps you do them in the proper way. And then you also, the third aspect of practice is you make all these practices you're doing for the sake of maturing others.

[11:19]

and any kind of service that you could do. And some of the services may not seem to be in themselves they are just opportunities to practice generosity or ethics and patience and so on. Like making somebody breakfast is not exactly giving unless you see it as a gift. it's not necessarily patience unless you practice patience while you're making breakfast but if you're making breakfast for somebody else and you're doing it in the context of these practices you're making breakfast for them but you're also offering them a chance to mature some other person might make breakfast for them without practicing generosity so they would receive their breakfast but they wouldn't get the instruction and the demonstration of generosity so most parents do feed their children but they don't all teach generosity while they're feeding their children and also they feed their children and their children do various things with the food they feed them

[12:44]

And sometimes what they do is irritating. Like when they throw the food or drop the food on the floor repeatedly. And sometimes it's irritating. Sometimes it's stressful. Or they throw the food at each other or at the parents. And it may be uncomfortable. The eating process, the feeding process is going on. The question is, is the parent also teaching generosity and patience? Is the parent also teaching ethics? Is the parent also not practicing self-righteousness and thinking they're better than the child who's throwing the food all over the room? If they are doing these practices while they're feeding their children then they're not just feeding their children they're teaching their children how to be Buddhas So that as they grow, they're not just getting more food to grow, they're actually getting instruction and compassion and wisdom along with it.

[14:05]

And if that instruction which is given while serving them and practicing these six perfections is based on the understanding that the Buddha weighs none other than what we're doing here, then they're also getting instruction in the first pure precept. So that's kind of a summary of how to practice in birth and death. And at the beginning I told a story about a very, what's the word, I could say prolific Zen master in the sense that he had so many students. His name was Master Ma. And again, as I mentioned, I imagine him doing these practices. I imagine him living his life as the performance of the Buddha way and living his life with the understanding that there's no Buddha way other than the performance of the Buddha way.

[15:21]

A lot of excellent students of the Buddha way don't believe that. They think there's some Buddha way other than the performance of the Buddha way. I imagine Master Ma being someone who understood that the Buddha way is the performance of the Buddha way and there's no other Buddha way than the performance of the Buddha way. So he's on the verge of death and somebody asks him how his health is and he performs the Buddha way by saying, sun-faced Buddha, moon-faced Buddha. And when he said sun-faced Buddha, moon-faced Buddha, I imagine he understood that speaking those words was the performance of the Buddha way, or was the Buddha way.

[16:33]

Matsu means master ma, or horse master, horse ancestor. Okay? Okay? He had 139 successors, people who actually received his teaching and were responsible for transmitting it. And he had 10,000 students, approximately, who didn't become successors. One of his successors was named Baijong. And Baijong also was a very prolific and fertile teacher, had many great students.

[17:50]

I don't want to shock you but I also don't want to shelter you from the reality that Master Ma had a very kind of what's the word kind of wild and playful and kind of rough relationship with some of his students not all but some of them and particularly with Baijian he had that kind of relationship one time he yelled at Bai Zhang and Bai Zhang couldn't hear for three days. Another time he and Bai Zhang were walking together and some geese flew over and Master Ma said to Bai Zhang, what was that? And Bai Zhang said, that was wild geese flying by.

[19:04]

And Matsu said, where did they go? And Bai Zhang said, they flew away. And Master Ma took a hold of Bai Zhang's nose and twisted it pretty hard. And at that point in the story, whenever Suzuki Roshi told that story, he would laugh. at the nose-twisting part. Yeah, oh, that's what Baijian said. Anyway, they had a... These two had an intimate relationship, and Baijian became a great teacher also. And he didn't... Then he had a student, a Wang Bo. Wang Bo. And Wang Bo was a very big guy. Baijian had many students, but one of his most noted students was Wang Bo. Wang Bo was very big, seven feet tall. And Baijian didn't, I don't know any stories of Baijian twisting Wang Bo's nose or yelling at him.

[20:12]

But Wang Bo was another great teacher. And he, his main student was Lin Ji. And Linji is also quite noted for shouting at his students. And again, but in a way that seemed to help his students understand. A lot of his shouts were accompanied by deep understanding in his students. He also grabbed his students sometimes when he shouted at them. and that was his style, which is somewhat related to Matsu's style. Matsu also yelled. So this particular group of Zen masters, those particular four right there, kind of had this style of yelling and shaking and so on, the students and...

[21:21]

we're still talking about him now twelve hundred years later and they had lots of great students who were very great compassionate beings very wise teachers most of the Zen people in China come from this particular lineage there's another lineage which is actually the one that leads down to the lineage of San Francisco Zen Center but it wasn't quite as prolific So now I've got a story about Lin Ji when he was about to die. This is what could be called a death koan, a public story about somebody who's on the verge of death. In the introduction to this story it says, entirely devoted to helping others, you don't know there is a self.

[22:41]

If you should exert the truth to the fullest, if you should exert the Dharma to the fullest, without concern that there Oh no, you should exert the law to the fullest without concern that there are no people. You should exert the law, the truth, the Dharma, to the fullest without concern that there are no people. For this, it is necessary to have a ruthless ability to snap a wooden pillar in two. When about to go, when about to die, what then?

[23:52]

This is the introduction to the story of Lin Ji. When Linji was about to die, he admonished San Shang. San Shang is one of his most mature students. He had some other students who had already been matured. Now, as he's dying, he wishes to mature I'm not sure, but I think san means three.

[24:57]

Three. I think Shang means sages. His name was Three Sages, I think. Could be wrong, but that might be his name. Kind of funny name, huh? Like one sage would be more appropriate. But anyway, San Shang was a student of Lin Ji. Lin Ji is about to die. And Lin Ji is going to give some instruction to his... some warnings, some admonitions, some encouragements to his student. And I wanted to mention, I wrote up here, Treasury of True Dharma Eyes. That's an expression which means the whole teaching. You know, all the eyes which see the truth. The treasury or storehouse of all the eyes that see the truth. in Japanese it's called Shobo Genzo, which is the name that Dogen gave to his writings in Japanese, his philosophical writings in Japanese, he called Shobo Genzo.

[26:09]

But here, 400 years before, in China, Linji is using the same expression as he gives his final admonitions to his great student. Ready? Here's the admonition. after I pass away, don't destroy my treasury of true Dharma eyes. After I pass away, don't destroy my teaching. And then Sanchang says, how dare I destroy the teacher's treasury of true Dharma eyes? And then Linji says, if someone suddenly questions you about it, about what? About the treasury of two Dharma eyes.

[27:11]

If someone suddenly questions you about your teacher's teaching, how will you respond? And Sanchong shouted. He yelled. He yelled. And then Linji said, Who would have thought that my treasury of true Dharma eyes would perish in this blind donkey? Is A-S-S the same as donkey? It actually says here, blind ass, but I wanted to make it clear. that it was a donkey in this case and then Linji died peacefully that's the story of Linji's last teaching

[28:29]

And one interpretation says, when Linji was about to die, he admonished Sanshong. And then the comment is, kindly, as he faces death, he takes leave thrice. Then kindly, as he's about to die, as he faces death, he takes leave thrice by saying three sentences. he takes his leave by saying, okay, he's ready to die, and he says, after I pass away, he's about to die, right?

[29:45]

After I pass away, don't destroy my teaching. After I pass away, don't destroy my teaching. He's taking his leave. Okay? But the student says something. How would I dare destroy the teacher's teaching, the teacher's treasury of two dharma eyes? So then he kindly takes his leave again by saying, if someone suddenly asks you about the teaching, how will you reply? And Sanchong yells, so then Lingyi has to say another sentence. Who would have thought that my teaching, my treasury of true Dharma eyes, would perish in this blind ass?

[30:52]

And some people thought that that some people well, let me say, some people understand that this is the transmission of the treasury of true Dharma eyes from Linji to San Shung. And some people think that when San Shung shouted that was the greatest shout of all time. even greater than Matsu's shouts. That this was a great a great succession, a great transmission at the time of death. And as I mentioned yesterday, Suzuki Rishi said that when things are dying they teach best. So this is an example of the teacher was teaching best as he was dying, and the student learned best as the teacher was dying.

[32:05]

And do you think the blind act's comment is affectionate? Yeah, I think it's... Well, not necessarily affectionate. It's more... It's more like a wisdom... compassion and wisdom there may or may not have been affection but this is his kindness and his wisdom simultaneously expressed and zen often is you know zen people speak but they speak for a purpose their purpose is to transmit the teaching to transmit the truth They speak for an effect. They don't speak so much to say something that's like the way things are. They don't speak so much to say the truth. They speak in such a way as to have the effect of somebody realizing the truth. So they might say something false, like it's Thursday today, because they feel like that would be just the thing that would wake this person up.

[33:18]

So... And also commemorating the shout. Yeah, it's the... In some sense, he was commemorating the shout, he was celebrating the transmissions already occurred, but then he also was making a final contribution to let him know that he does appreciate it. So it was not just celebration, but also another moment of practicing the Buddha way And again, another moment of having the effect of again supporting his student to carry on the teaching. And one of the main, and rhetoric is a way of speaking for an effect. A rhetorical statement, a rhetoric is to have an effect. It isn't just to convey information, it's to have a particular effect with the information. It's information used to have an effect. And one of the main rhetorical devices of Zen is irony.

[34:25]

I think some people say it is the main rhetorical device is irony. Whereas I don't think it's one of the main rhetorical devices of teaching in the West. But in Zen it is. So teachers often say something like, you know something like who would have thought that I would wind up with students like this it's not exactly like saying I have bad students although that might be said too maybe something a little bit more subtle than that just say something like that And as you, I think as Elizabeth noticed, San Sang's shout was the teacher's teaching. The teacher's teaching, his great storehouse of Dharma eyes was his yelling.

[35:32]

That was how he taught, by yelling at people and shaking them. And the great-grandfather, Matsu, also taught that way. You know, I just thought this morning, when Matsu said, Sun-faced Buddha, Moon-faced Buddha, I don't imagine that he was taking notes, you know, and said, if anybody comes and asks me how I'm doing, I'm going to say Sun-faced Buddha, Moon-faced Buddha. I don't imagine he did that. I kind of imagined that he was there on the verge of death. The director of the monastery comes and asks him how he's doing. And just sun-faced Buddha, moon-faced Buddha comes up again as a rhetorical device to help the director. But then I also thought, well, does that mean that Master Ma heard somebody recite that sutra? Did he listen to somebody recite the 1,193 names of Buddhas and Bodhisattvas?

[36:39]

Did he listen to that? Did he read it himself? Where did he hear about Sun-faced Buddha and Moon-faced Buddha? Why were those two selected out of the list? I haven't seen the original text, so I don't know if Sun-faced Buddha comes right, if they're right next to each other on the list. But somehow, in this list which has the names... 1,191 other names, he pulled these two out. And somebody might think, of all the two to pull out, those are the best ones to pull out on this occasion, because those are the two that have these two lifespans. And he's on the verge of death, and the guy's asking him. So, I mean, it's kind of a brilliant thing to say, actually. But where did he hear those names? And how did he know that the sun face lives for 1800 years and the moon face for one? So he probably read it. And not only did he read it, but he remembered it. And you might remember it now too.

[37:42]

Because I said it to you several times. But it's possible that if you read the whole book and somebody asked you how you were doing, you might choose some other of those Buddhas to tell them how you are. So I'm just saying, Master Ma probably read that sutra. And that's probably not the only sutra he read. Because I've heard people ask him, people came and asked him a lot, a lot of sutras. And he actually gave talks on other sutras. So he read a lot of sutras. And Bai Zhang also, I know, read lots of sutras, especially he read the Lotus Sutra, I think. But what was their teaching? They didn't teach so much these sutras. They yelled at people. But not at, you know, not at everybody. All the time. But it's just that when they yelled often, it was very effective, so those stories got written down.

[38:45]

Other times, when they didn't yell, the teaching was effective too, but they didn't write those down. I don't think so, because they didn't say he yelled. Also, he was on the verge of death. He might not have been able to yell. But Sangchang was still pretty young and vigorous, so he still had, as we say, a good shout on him. The greatest shout some people feel. But in other words, his teacher said, don't destroy my teaching. And then what did he do? He gave his teaching. And when he gave his teaching, the teacher said, my teaching is gone. So another principle in Zen is that in order to succeed your teacher, you have to step on your teacher's shoulders.

[39:46]

You're supposed to get above your teacher. If you just come up to your teacher's level, the teaching dies. You have to go beyond your teacher. You have to stand up on top of your teacher. You sort of have to throw your teacher's teaching away But you can't throw it away unless you've got it. So this is a story of practicing with death to the teacher and the student practicing at the time of the teacher's death and the teaching really being alive at that time. Any questions or responses to anything? Well, as a matter of fact, I do have a response, now that you asked.

[40:49]

And when I say this, and after I say stuff like this, people come up to me and say, are you okay? Did you mean something by that? Are you trying to tell us something? is there something special happening? so they say that to me after I say I'm dying and I want to be dying because I'm trying to get with the program I am dying so I mention that I am dying and I want to be dying because I am dying but also if I'm dying then the teaching is good because things teach best when they're dying so I teach best when I'm dying And isn't that good that I'm teaching best because I'm dying? And then afterwards somebody will say, is something happening? But you don't have to ask me. What's happening is I'm dying. But it's no special dying, it's just the regular dying. Oh yeah, that, okay.

[41:54]

It's not like I just got some new diagnosis that you haven't heard about. But I might get a new one any minute. But the basic diagnosis that I have, which actually no doctor told me, no doctor actually told me, you're dying. I go to the doctor on a regular basis, but none of them have said, you're dying to me. But I'm saying that. I'm saying I'm dying. But I don't want to be rude and say something to you about what you're doing. But if I'm dying, it's possible that you're dying too. And if you're dying, then the way you're dying, the way you're dying is teaching best. And if you're intimate with yourself and the way you are, then you will help people in this world who are also dying. Babies are dying. Everybody's dying. We're all in the process of dying.

[42:57]

All of us that are born are in the process of dying. And the way we're dying is a great teaching. Which is similar to the way we're changing is a great teaching. But we're not just changing, we're changing towards, you know, a new life. It's not just change, it's change towards a new life. So dying teaches new life. Yes? Yes? Yes? This is a question about giving. Yes. And dying. It's a question about giving and dying. So I've always thought of myself as a giver, a caretaker and a generous person. And I recently was given a serious diagnosis. And my constructs of self fell away.

[44:01]

Some of them. And I noticed that in my giving, I was leaning. Good. There was a lot of attachment to being a generous person. And as I now try to be intimate with this situation, I find that I want less to give and more to ask the questions, what is this illness? What is dying? What is this experience? And it's occurring to me that maybe that's a form of giving. Definitely. Definitely. But it's good for you to remember that. That the gift you're giving is the gift of the life of wisdom. The life of wisdom is in the giving and as you give more and more deeply you discover there's a wisdom process there.

[45:10]

But also when you're practicing wisdom asking questions about the nature of the nature of birth and death, the nature of peace When you ask those questions, in fact, those questions have been given to you. And receiving those questions is giving. And then when you receive those questions and express them, you're also giving the gift to demonstrate to the world the wisdom process of questioning. And questioning also not to get something. Understanding that questioning is the Buddha way. And also answering is the Buddha way. But the questioning is first. And the answering should be done as a gift rather than as, you know, like that's the answer and that's over. It's just something you pass on to somebody and they pass along.

[46:11]

It's not the final thing. So your giving, your questioning of the giving is enlivening the giving. and also remember what I just read, entirely devoted to helping others, you don't know there is a self. When you're really devoted to others and you're really generous to others, you don't know that there's a generous person there. It's a new kind of giving. It's a new kind of giving. It's a deeper giving. It's deepening the giving. So when giving starts, there's giver and receiver. As you go deeper, you don't know where the self is. You don't know where the giver and receiver are. There's giver and receiver and gift, but you don't know who is who or what's what. We're the same. Yeah. Please come to the seat.

[47:32]

Thank you. Welcome. I have a story about you. Yes. The first conversation I had with you was here. It was right here? It was at this place. And it was after you had had a heart attack, and it was your first visit back here, the first time you'd come back. And I was part of this community, and so I was here on a Saturday morning. And I told people I just had a heart attack? I knew that. You heard about it? I'd heard about it. And I knew that people were glad that you were better and that you had come back and you were offering another workshop. I was better? Well, perhaps. I didn't hear about that. People should have told me I was better. I didn't know that. You are so difficult. I used to be better and now I'm difficult? Yeah. So, so difficult.

[48:34]

Yeah. Wow, I'm better and so difficult. Yes, great. So I saw you in the morning. You, you. I'm more difficult. No, you have clouded, your sunglasses are clouding. They're bad again, yes. Symmetrically. I get embarrassed and my face gets hot. You must be drinking fluids. Yes. Okay. Okay, so you heard I was better. Yes. Later you found out that wasn't true. Yeah. So I saw you sitting on a bench outside the community building by yourself. And I wanted to say something to you. And I walked up and I said, oh, we're so glad to see you back.

[49:36]

And how are you? And you looked me straight in the eye and you said, well, I'm dying. And it just left me speechless. So I said, and I walked away. And I... Thanks for the story. Yeah. I thought later I wasn't... That's kind of a death command. Yeah. Not as good as the other ones, but... It was pretty good. I thought later, you know, it was a little more truth than I was ready for at that moment. But eventually I came back, yeah. But did you stop asking me how I was? No, no. Anyway, that was my first encounter with you. Wonderful. Yeah. You'd seen me before, but you hadn't really talked to me. Correct. Yeah. Yeah. So thank you for that.

[50:38]

You're welcome. And then I had a question also, and it was about Bai Zhang. I seem to remember that there's a story at which the end of the story is that his student slapped him. Is that, am I remembering that right? Yeah. Yeah. Wang Bo slapped him. I believe. Oh, no. Just a second. Definitely, definitely Lin Ji. No. No. Definitely Lin Ji slapped Wang Bo. The student Lin Ji who got yelled at in this story, he slapped his teacher, Wang Bo.

[51:41]

There's that story. That story is in this book, too. It's called Lin Ji's Great Enlightenment. So we just heard the story of Lin Ji's blind ass. his greatest disciple, but there's also a story in here called Linji's Great Enlightenment, at the end of which Linji slaps his teacher. I'll tell you that story a little later, but now I'm going to check on Baijiong, just a second. Huh? Yeah, this is to check on, see? Yeah, Baijiong's fox, so let's see. Uh... Yeah, right. Yeah, so, that's right. So, let's see. Should I go into this now?

[52:42]

Okay, so... You can stay here if you want. After all, I'm dying. So, you don't want to miss anything. Okay, so... Matsu yelled at Bai Zhang and twisted his nose. And then Bai Zhang... There's a famous story of Bai Zhang where Bai Zhang, when he gave Dharma talks, there was always an old man in the back of the Dharma hall, of the teaching hall. And one day, after... after everybody else left, the old man came up and said to Bai Zhang, I'm not a human being. I'm a wild fox. In ancient times, I used to be the head teacher on this mountain.

[53:43]

My name was Bai Zhang, too. Because Bai Zhang is the name of the mountain. The teacher is called by the name of the mountain. So this person used to be the teacher at that same spot. And a monk came and asked me, does a highly cultivated person fall into karmic cause and effect or not? And I said, not. And as a result of that answer, I had been reborn as a fox for 500 lifetimes. And he said, so the old Bajang, the first Bajang, asked this Bajang, whose nose was twisted, he says to him, please offer me a turning phrase. Please turn the language to liberate me. And Bai Zhang says, okay, ask me the question. So the old man says to Bai Zhang, does a highly cultivated practitioner fall into cause and effect or not? And Bai Zhang said, she does not obscure cause and effect.

[54:46]

And that liberated the man. And he left. And then later, Bai Zhang said, went out behind the monastery with his monks and put his staff into some bushes and pulled out a fox and performed a funeral ceremony for the fox. And then that evening, Bai Zhang went into the teaching hall again and told the story of the old man and the fox and everything. And Wang Bo immediately said to Bai Zhang, you following this? Wang Bo said to Bai Zhang, an ancient answered a turning word mistakenly and fell into a wild fox body for 500 lives.

[56:00]

What if one is not mistaken turn after turn? And Bai Zhang said, come here and I'll tell you. And Wang Bo approached Bai Zhang and gave Bai Zhang a slap. Bai Zhang clapped his hands and laughed, said, I knew foxes, I knew foxes' beards were red. Here's another red-bearded fox. So, Bai Zhang didn't slap Wang Bo. Wang Bo slapped Bai Zhang. I don't know of any examples of Bai Zhang slapping Wang Bo. But Wang Bo slapped Lin Ji. And Wang Bo slapped Bai Zhang. And Lin Ji slapped a lot of people. So, when you're ready, I'll tell you the story of Linji's Great Enlightenment, which involves slapping.

[57:13]

Just let me know when you want to hear that one. You want to hear it now? Can you stand another one? Before breakfast? No? Later? How many people want to hear the story? And how many want to go to breakfast? yeah but some people want to go to breakfast I'll tell you when you come back I'll tell you the story of Lin Ji's great enlightenment with Wang Bo when you come back the story of Bai Zhang and the fox sure After all, I'm dying. I better explain everything quick. She wants me to.

[58:20]

How lovely. Okay, now it's breakfast time. Time to break the fast.

[58:27]

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